Although written for the most solemn time in the Christian calendar, this performance of seven cantatas, each dedicated to a different part of Jesus’ crucified body, was filled with a pleasing lightness, accentuated by Buxtehudes’s use of dance rhythms. Players and singers were mostly one person to a part so there was nowhere and indeed nothing to hide – it was a gentle, well done, contemplative concert. There was little ornamentation and no excesses; nothing was artificially dwelt upon or accentuated to manipulate the audience’s emotions. The musical suspensions were subtle and particularly well sung. In ‘Cantata Six’ the singers were accompanied by a viola-da-gamba consort, a treat for early instrument fans. It was a beautiful end to a busy day.